This, I think, is the largest Ugar piece I have seen to date. It is on the large single wall in Dean Lane that has played host to some truly magnificent pieces over the years. Ugar’s writing style is rather unusual, being quite organic and irregular, but it is his fills that lift him above the ordinary.
Ugar, Dean Lane, Bristol, April 2019
He decorates his letters with an array of patterns, swirls, bubbles, subtle shadings and lines that provides his unique finish to each of his pieces. I like the work of this Hungarian artist very much, and this one is worth a long hard look.
Welcome to the wild and wonderful world of Tom Miller, Bristol artist. A gallery.
All photographs taken by Scooj
Tom Miller and Kin Dose (Kin Official), Nelson Street, Bristol, December 2021Tom Miller, Nelson Street, Bristol, December 2021Tom Miller, Upper York Street, Bristol, December 2021Tom Miller, Upper York Street, Bristol, December 2021Tom Miller, Upper York Street, Bristol, December 2021Tom Miller, Upper York Street, Bristol, December 2021Tom Miller, New Stadium Road, Bristol, February 2021Tom Miller, New Stadium Road, Bristol, February 2021Tom Miller, Smak and Sled One, Nova Scotia, Bristol, July 2020Tom Miller, Nova Scotia, Bristol, July 2020Tom Miller, Turbo Island, Bristol, August 2020Tom Miller, Surrey Street, Bristol, October 2016Tom Miller, Surrey Street, Bristol, October 2016Tom Miller, St Werburghs, Bristol, February 2020Tom Miller, Stapleton Road, Bristol, September 2019Tom Miller, The Nova Scotia, Bristol, March 2019Tom Miller, The Nova Scotia, Bristol, March 2019Tom Miller, Jessop Underpass, Bristol, March 2019Tom Miller, Jessop Underpass, Bristol, March 2019Tom Miller, Jessop Underpass, Bristol, March 2019Tom Miller, Jessop Underpass, Bristol, March 2019Tom Miller, Upfest, Bristol, July 2018Tom Miller, Upfest, Bristol, July 2018Tom Miller, Dean Lane, Bristol, June 2018Tom Miller, Dean Lane, Bristol, June 2018Tom Miller, The Bearpit, Bristol, April 2018Tom Miller, Stokes Croft, Bristol, March 2018Tom Miller, The Bearpit, Bristol, February 2108Tom Miller, Stokes Croft, Bristol, February 2018Tom Miller, Stokes Croft, Bristol, December 2015Tom Miller, Stokes Croft, Bristol, July 2017Tom Miller, Stokes Croft, Bristol, July 2017Tom Miller, The Bearpit, Bristol, March 2017Tom Miller, Stokes Croft, Bristol, January 2017Tom Miller, James Street, Bristol, January 2017Tom Miller, James Street, Bristol, January 2017Tom Miller, Richmond Road, Bristol December 2016Tom Miller, Upfest, Bristol, July 2016Tom Miller, Upfest, Bristol, July 2016Tom Miller, Stokes Croft, Bristol, June 2016Tom Miller detail, Stokes Croft, Bristol, June 2016Tom Miller, The Bearpit, Bristol, February 2016Tom Miller, Stokes Croft, Bristol, April 2016Tom Miller, The Bearpit, Bristol, March 2016Tom Miller, The Bearpit, Bristol, March 2016Tom Miller, Stokes Croft, Bristol, March 2016
I have a feeling that I may have walked past this piece once or twice before I actually found it. I first saw it on Instagram and noticed that it was in Bristol, but it was impossible to work out where, so I asked the photographer, and he said it was in Leonard Lane. Even then it was difficult to find as it is rather well camouflaged with its surroundings.
Cartoonneros, Leonard Lane, Bristol, April 2019
The stencil of Yoda is by Cartoonneros and I am guessing that he must have done it during the same visit he made when he sprayed the excellent Kurt Cobain stencil in Dean Lane skate park. This is a fine addition to the vibrant and ecclectic array of graffii and street art in Leonard Lane. Who doesn’t love a Star Wars stencil?
I said that there would be more from Decay, and by gum I am a man of my word. It feels like he is enjoying a new lease of life, and not only with writing letters, but also with his colour selections – less so perhaps in this piece but generally he appears to be using more colours in his work.
Decay, M32 roundabout, Bristol, March 2019
I think I might have to approach him and ask if he would be prepared to do an interview, because I think his story is likely a very interesting one. Note to self – get of arse and message Decay. More still to come from Decay.
There was a time, and it wasn’t too long ago, when I thought that Soap only ever produced his mushroom-shaped mouths, in a variety of different styles and colours. However, over the last year or so, he has really branched out a whole lot and is doing a lot of writing – it seems many bristol artists are currently doing the same (Decay, Kid Crayon and Tasha Bee has just started too)
In this piece Soap has incorporated his mouths into a rather clever and intricate word SOAP. I love the two triangles that kind of hold the whole thing together and add interest. It reminds me a little of a mint choc-chip…it’s a colour thing.
Another supreme example of gothic graffiti writing from Hire, who seems to have a real soft spot for this left-hand end of wall in Dean Lane. He has sprayed several other pieces here before. Hire used to work quite a lot in The Bearpit, but I haven’t seen anything of his there for an age.
Hire, Dean Lane, Bristol, March 2019
This is a bright, confident and strong piece that is impossible to ignore. It screams out at the passer-by ‘look at me’. The letters I think spell out HIRE – I can see it whether it is there or not. He has also written quite cryptically ‘The BF One’ along the base of some of his letters. I have seen BF written before, in fact Hire’s Instagram handle is #hireonebf, but I don’t know what it relates to. He is a man of few words. I’ll have to ask him next time I see him.
Together with Zake (see previous post), Panskaribas is emerging as one of my favourite new(ish) arrivals on the Bristol scene. Both artists are becoming more bold with their wall selections as their confidence grows and it is a great thing to witness. I would continue to describe Panskaribas’s work as cubist doodles in spray-paint with a dash of surrealism thrown in.
Panskaribas, Moon Street, Bristol, March 2019
One can see all sorts of references to various modern art movements in his work, but his skill has been ion blending these and coming up with something quite unique and really unusual in street art. An acquired taste perhaps, but so worth spending time to look at what is going on in these paintings – do I spot some Matisse in here?
From a couple of weeks ago, this is a fine piece from Zake, whose work has definitely come out into the open after a gestation period in the partial light of the columns at the M32 Spot. I often wonder what his characters would look like with the pupils of their eyes drawn in, their absence gives them a somewhat aloof aura, deliberate of course.
Zake, M32 roundabout, March 2019
The happy face, I suspect is about to get a whole load happier judging from the pill on his tongue. I know little of such matters so have to make assumptions. I am really enjoying the evolution and exposure of Zake’s work.
The day I found Banksy’s ‘Rose Trap’ turned out to be rather special for another reason. I had taken a detour from my normal route in to work , and rather than try to return to my normal route, I decided to just meander a little in the right direction. It was a great deceision because only 100 meters or so from the Banksy was this stunning piece by ATM.
ATM, Spring Hill, Bristol, March 2019
I have known about this lynx for some time, which I think it was actually painted in November 2016, but I never managed to find it. Sometimes life just catches up with you, and good intentions fly out of the window. In a way, finding a piece like this without intent is somehow extra rewarding… it is like receiving a gift that you weren’t expecting.
ATM, Spring Hill, Bristol, March 2019
The sensational piece is nestled at the bottom of a very steep and narrow cobbled lane that leads up to Cotham. On his twitter feed at the time, ATM wrote:
This tweet I think tells you how much ATM cares about wildlife, and he uses his art to raise awareness and get people thinking about the world around them.
It is unfortunate that the patches (presumably covering up tags) weren’t properly colour-matched with background, but great that someone cares enough to keep this piece in great condition. Let’s hear it for the lynx.
Well it appears that Kleiner Shames has been back in town, and left us with a most beautiful FOIS at the farm end of St Werburghs tunnel. His distinctive style and colour palette seems to draw heavily on the Art Deco style combined with a kind of 1970s/80s freedom.
Kleiner Shames, St Werburghs, Bristol, March 2019
His metallic spray paint used for the central lettering is a nightmare to photograph in the tunnel – if it is in shade it is one colour, if it is in the light another and pictured from the front it goes from dark to light. Irrespective of the trickiness of trying to get a nice picture, it is always, always great when Kleiner Shames comes ‘home’.
Natural adventures 